ARTO LINDSAY hYPER (AHORA SI)

he second in a trilogy of Arto Lindsay albums devoted to Brazilian songcraft, Mundo Civilizadois a beguiling blend of lush surfaces, sophisticated melodies, and tasteful but challenging sounds. Hyper Civilizado is a companion CD of beat-heavy remixes from several New York City DJs.

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hummingbird, los tres discos completos

Eterno agradecimiento a Lucía Guichón que recolectó los links

DIAMOND NIGHTS

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Hummingbird

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We Cant Go on Meeting Like This

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Broken Flowers : Broken Flowers -OST- [2005]

TRACKLIST



- There Is An End [The Greenhornes]
- Yegelle Tezeta [Mulatu Astatke]
- Ride Your Donkey [The Tennors]
- I Want You [Marvin Gaye]
- Yekerme Sew [Mulatu Astatke]
- Not If You Were The Last Dandy On Earth [Brian Jonestown Massacre]
- Tell Me Now So I Know [Holly Golightly]
- Gubelye [Mulatu Astatke]
- Dopesmoker [Sleep]
- Requiem Op.48 (Pie Jesu) [Various]
- Ethanopium [Dengue Fever]
- Unnatural Habitat [The Greenhornes]


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Florence + the Machine - Lungs

Precocious Brit Florence Welch fired a bullet into the head of the U.K. music scene in 2008 with the single "Kiss with a Fist," a punk-infused, perfectly juvenile summer anthem that had critics wiping the names Lily Allen, Amy Winehouse, and Kate Nash from their vocabularies and replacing them with Florence and the Machine. While the comparisons were apt at the time, "Kiss with a Fist" turned out to be a red herring in the wake of the release of Lungs, one of the most musically mature and emotionally mesmerizing albums of 2009. With an arsenal of weaponry that included the daring musicality of Kate Bush, the fearless delivery of Sinéad O'Connor, and the dark, unhinged vulnerability of Fiona Apple, the London native crafted a debut that not only lived up to the machine-gun spray of buzz that heralded her arrival, but easily surpassed it. Like Kate Bush, Welch has little interest (for the most part) in traditional pop structures, and her songs are at their best when they see something sparkle in the woods and veer off of the main trail in pursuit. "Kiss with a Fist," as good as it is, pales in comparison to stand-out cuts like "Dog Days Are Over," "Hurricane Drunk," "Drumming Song," "Rabbit Heart (Raise It Up)," and "Cosmic Love," all of which are anchored to the earth by Welch's knockout voice (which hopefully in time will lose the occasional Natalie Merchant affectation), and a truly impressive and intuitive trio of producers and a backing band that sounds as intimate with the material as its creator.

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Max Middleton - Hummingbird (Colección de tracks de los tres discos)

Max Middleton is best known as the pianist in the second, most successful version of Jeff Beck Group. Middleton was trained as a classical pianist but also possessed a strong affinity for jazz, and had played in a band called Flare with Trinidad-born bassist Clive Chaman. His hook up with Beck came about in the spring of 1971, while the guitarist was rehearsing the lineup of his reconstituted band (including Chaman) and decided that he needed a pianist. At 20, Middleton was one of the youngest players on the early-'70s blues-rock scene, and his youth, coupled with his devotion to jazz, quickly made him a mainstay of Beck's group -- his jazz piano was one of the more successful new elements introduced on the Rough and Ready album, and on the next LP, Jeff Beck Group, Middletonalso wrote an outstanding instrumental track entitled "Definitely Maybe." Middleton was also the only member to make the jump from the second version of Jeff Beck Group to the third, which was really the prototypal Beck, Bogert & Appice, but he left before that trio had gotten far into their short-lived hook up. He passed through a group called Gonzales before rejoining Beck in 1974 -- with other core members of Gonzales soon to follow -- to collaborate with the guitarist on the instrumental Blow By Blow album, which became the top-selling LP of Beck's whole career, reaching number four on the American charts. Middleton also played clavinette on the Wiredalbum that followed, after which he parted company with the guitarist.

In the wake of his work with Jeff Beck, Middleton's career fairly exploded, and he became ever busier as the 1970s wore on -- he passed through membership in the Hummingbirds, alongside his fellow Jeff Beck Group/Flare alumni Bob Tench and Clive Chaman, and did session work with everyone from Pete Brown to Kate Bush, and he played extensively with Chris Rea throughout the 1980s and 1990s. Middleton's most familiar contributions to popular music, however, remain his work with Jeff Beck. Beyond his actual playing,Beck has described the pianist as his most significant collaborator during the most commercially successful period of his career;Middleton's fluency in jazz chords forced the blues-rock guitar virtuoso to extend himself and his music in new and unexpected directions.
HUMMINGBIRD

Clive Chaman
Max Middleton
Bob Tench
Robert Ahwry
Bernie Holland
Bernard "Pretty" Purdie

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GRUBB

Una ejecución acertada y prolija de una gran diversidad de fuentes. Funk guitarrero a lo Smiling Headless Torsos, algo Terence Trent D'arby. Living Colour,War, junto a algo de Alt Country y hard rock setentero.
Cantan en inglé, y no solo por eso no parecen uruguayos.No se los podría meter en ninguna de las categorías que andan hoy por ahí, ni cool rock, ni el rock de la yenchi, ni el metal, ni los llenaestadios.
Están ahí, solitos esperando que uds los escuchen.
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Hoy en día en Uruguay es casi imposible pensar que existen bandas como ésta.

Ignacio Vecino, compositor, guitarrista y cantante de la banda, comenzó a componer canciones en inglés llenas de funk, rock, pop, soul y psicodelia setentona.

En febrero de 2008 se forma GRUBB, después de haber hecho una búsqueda intensiva de músicos que lo acompañen en la ciudad de Montevideo el año anterior.

Nacho Vecino conoció a Martín Garcia (bajo), a través de el ex – tecladista de la banda, Sebastián Gagliardi, y allí empezaron los ensayos a mediados del 2007 junto con el baterista Manuel Souto, amigo de toda la vida de Vecino. Más tarde llegaría Miguel Campal; también compositor y con una cantidad de canciones propias que no forman parte de lo que es Grubb; para tomar el puesto de Sebastián Gagliardi, y para sumar elementos a la banda, como coros y segunda guitarra. Estando el cuarteto formado, comenzaron los shows y la búsqueda de oportunidades para el grupo.

Comenzando a tocar en distintos lugares de Montevideo la banda recibió una respuesta positiva y eufórica del público quedando hipnotizados con la música de GRUBB.

Más hacia mitad del 2008 surgió la incorporación de Manuel Contrera como tecladista encargándose del Rhodes y el Hammond; y de Leonardo Méndez en saxo dándole un color muy especial a las canciones de la banda. Shows como el de Espacio Guambia, el de Teatro Stella (por la Movida Joven), y otros muchos boliches de Montevideo se caracterizaron por ser dinámicos, eufóricos y llenos de sentimientos haciendo sentir al público parte de algo muy especial que esta surgiendo en Montevideo.
Las grabaciones de los primeros demos ya mostraban una diferencia muy grande con lo que es el estilo de la música de acá en general, diferenciándose del reggae, del punk, del rock al estilo AC/DC, el metal y de lo que es la música popular uruguaya, mostrando un estilo nunca abordado aún en nuestro país. Con objetivos de apuntar no solo al mercado local sino al mundo, GRUBB tiene planes de grabar su primer disco, para editarlo a principios del año que viene.

GRUBB esta integrado por, Ignacio Vecino (guitarra, voz y armónica), Martín Garcia (bajo), Manuel Souto (batería), Miguel Campal (teclados, guitarra y coros), Manuel Contrera (teclados) y Leonardo Méndez (saxo)
http://www.montevideo.com.uy/notgrabaciones_72238_1.html


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Neil Young - This Note is for You

A collective groan from Neil Young fans could be heard when it was announced that, as his return to Reprise Records, Young was engaging in yet another genre experiment, this time recording blues and R&B with a six-piece horn section. If Landing on Water and Life had been lackluster, at least they hadn't been as embarrassing as Young's forays into rockabilly (Everybody's Rockin') and techno (Trans). And if you took This Note's for You on its own genre terms, it could be just as laughable. A song like "Sunny Inside," with its marching rhythm and charging horn charts, seemed to demand a forceful, gritty singer on the order of Wilson Pickett, and Young's watery tenor just didn't cut it. But the album was only half up-tempo numbers; the other half was bluesy ballads for which Young's singing was effective and on which he sounded more personally involved than he had in years. And even on the rockers, his sense of humor often carried the day. This Note's for You was the best of Young's stylistic side trips because it was the only one in which the style augmented his own instead of overwhelming him. The songs were mediocre, but the playing was spirited. The album earned much better reviews than Young had gotten lately, largely because critics tend to stand in awe of the blues in whatever form it appears. And Young got further kudos due to his contretemps with MTV when the video channel first declined to program a clip for the title song because it featured parodies of popular MTV artists and commercial sponsors, then caved in and named it Best Video of the Year. Lost in all that hoopla, however, was that record buyers never came to the party. This Note's for You was another commercial failure for Young, and it was apparent that, to lure back his audience, he would have to go back to making the kind of music his fans had liked a decade before.

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Neil Young & Crazy Horse - Rust Never Sleeps

Rust Never Sleeps, its aphoristic title drawn from an intended advertising slogan, was an album of new songs, some of them recorded on Neil Young's 1978 concert tour. His strongest collection since Tonight's the Night, its obvious antecedent was Bob Dylan's Bringing It All Back Home, and, as Dylan did, Young divided his record into acoustic and electric sides while filling his songs with wildly imaginative imagery. The leadoff track, "My My, Hey Hey (Out of the Blue)" (repeated in an electric version at album's end as "Hey Hey, My My [Into the Black]" with slightly altered lyrics), is the most concise and knowing description of the entertainment industry ever written; it was followed by "Thrasher," which describes Young's parallel artistic quest in an extended metaphor that also reflected the album's overall theme -- the inevitability of deterioration and the challenge of overcoming it. Young then spent the rest of the album demonstrating that his chief weapons against rusting were his imagination and his daring, creating an archetypal album that encapsulated his many styles on a single disc with great songs -- in particular the remarkable "Powderfinger" -- unlike any he had written before.

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Nei Young - Tonight's the Night

Written and recorded in 1973 shortly after the death of roadie Bruce Berry, Neil Young's second close associate to die of a heroin overdose in six months (the first was Crazy Horse guitarist Danny Whitten), Tonight's the Night was Young's musical expression of grief, combined with his rejection of the stardom he had achieved in the late '60s and early '70s. The title track, performed twice, was a direct narrative about Berry: "Bruce Berry was a working man/He used to load that Econoline van." Whitten was heard singing "Come On Baby Let's Go Downtown," a live track recorded years earlier. Elsewhere, Young frequently referred to drug use and used phrases that might have described his friends, such as the chorus of "Tired Eyes," "He tried to do his best, but he could not." Performing with the remains of Crazy Horse, bassist Billy Talbot and drummer Ralph Molina, along with Nils Lofgren (guitar and piano) and Ben Keith (steel guitar), Young performed in the ragged manner familiar from Time Fades Away -- his voice was often hoarse and he strained to reach high notes, while the playing was loose, with mistakes and shifting tempos. But the style worked perfectly for the material, emphasizing the emotional tone of Young's mourning and contrasting with the polished sound of CSNY and Harvest that Young also disparaged. He remained unimpressed with his commercial success, noting in "World on a String," "The world on a string/Doesn't mean anything." In "Roll Another Number," he said he was "a million miles away/From that helicopter day" when he and CSN had played Woodstock. And in "Albuquerque," he said he had been "starvin' to be alone/Independent from the scene that I've known" and spoke of his desire to "find somewhere where they don't care who I am." Songs like "Speakin' Out" and "New Mama" seemed to find some hope in family life, but Tonight's the Night did not offer solutions to the personal and professional problems it posed. It was the work of a man trying to turn his torment into art and doing so unflinchingly. Depending on which story you believe, Reprise Records rejected it or Young withdrew it from its scheduled release at the start of 1974 after touring with the material in the U.S. and Europe. In 1975, after a massive CSNY tour, Young at the last minute dumped a newly recorded album and finally put Tonight's the Night out instead. Though it did not become one of his bigger commercial successes, the album immediately was recognized as a unique masterpiece by critics, and it has continued to be ranked as one of the greatest rock & roll albums ever made.

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Neil Young - After the Gold Rush

In the 15 months between the release of Everybody Knows This Is Nowhere and After the Gold Rush, Neil Young issued a series of recordings in different styles that could have prepared his listeners for the differences between the two LPs. His two compositions on the Crosby, Stills, Nash & Young album Déjà Vu, "Helpless" and "Country Girl," returned him to the folk and country styles he had pursued before delving into the hard rock of Everybody Knows; two other singles, "Sugar Mountain" and "Oh, Lonesome Me," also emphasized those roots. But "Ohio," a CSNY single, rocked as hard as anything on the second album. After the Gold Rush was recorded with the aid of Nils Lofgren, a 17-year-old unknown whose piano was a major instrument, turning one of the few real rockers, "Southern Man" (which had unsparing protest lyrics typical of Phil Ochs), into a more stately effort than anything on the previous album and giving a classic tone to the title track, a mystical ballad that featured some of Young's most imaginative lyrics and became one of his most memorable songs. But much of After the Gold Rush consisted of country-folk love songs, which consolidated the audience Young had earned through his tours and recordings with CSNY; its dark yet hopeful tone matched the tenor of the times in 1970, making it one of the definitive singer/songwriter albums, and it has remained among Young's major achievements.

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